{"version":"1.0","provider_name":"\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","provider_url":"https:\/\/www.momat.go.jp\/en","author_name":"srvmng","author_url":"https:\/\/www.momat.go.jp\/en\/author\/srvmng","title":"Artist Talks\uff5cEndo Toshikatsu \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Yw6NNGUeLU\"><a href=\"https:\/\/www.momat.go.jp\/en\/magazine\/234\">Artist Talks\uff5cEndo Toshikatsu<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.momat.go.jp\/en\/magazine\/234\/embed#?secret=Yw6NNGUeLU\" width=\"600\" height=\"338\" title=\"&#8220;Artist Talks\uff5cEndo Toshikatsu&#8221; &#8212; \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" data-secret=\"Yw6NNGUeLU\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/*! This file is auto-generated *\/\n!function(c,d){\"use strict\";var e=!1,o=!1;if(d.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(\/[^a-zA-Z0-9]\/.test(t.secret));else{for(var r,s,a,i=d.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),n=d.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),o=new RegExp(\"^https?:$\",\"i\"),l=0;l<n.length;l++)n[l].style.display=\"none\";for(l=0;l<i.length;l++)if(r=i[l],e.source!==r.contentWindow);else{if(r.removeAttribute(\"style\"),\"height\"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if(\"link\"===t.message)if(s=d.createElement(\"a\"),a=d.createElement(\"a\"),s.href=r.getAttribute(\"src\"),a.href=t.value,!o.test(a.protocol));else if(a.host===s.host)if(d.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener(\"message\",c.wp.receiveEmbedMessage,!1),d.addEventListener(\"DOMContentLoaded\",t,!1),c.addEventListener(\"load\",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf(\"MSIE 10\"),a=!!navigator.userAgent.match(\/Trident.*rv:11\\.\/),i=d.querySelectorAll(\"iframe.wp-embedded-content\"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute(\"data-secret\")))r=Math.random().toString(36).substr(2,10),t.src+=\"#?secret=\"+r,t.setAttribute(\"data-secret\",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute(\"security\"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:\"ready\",secret:r},\"*\")}}}}(window,document);\n<\/script>\n","thumbnail_url":"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2025\/05\/magazine_234_250521.jpg","thumbnail_width":1024,"thumbnail_height":576,"description":"This time, we interviewed Endo Toshikatsu. Focusing on the background behind the creation of \u201cTrieb-Modernity, Body\u201d (1997), an unusual work that uses flowing water as its medium, he talked about how he came to choose sculpture as his artistic path, why he uses water and fire in his works, and the ideas behind his creations. Interviewer\uff5cHajime Nariai (The National Museum of Modern Art, Tokyo)Cinematographer\uff5cWatanabe ShunsukeLighting Designer\uff5cTakahashi YuiDirector\uff5cMiyazawa Hibiki (COG WORKS)Production\uff5cThe National Museum of Modern Art, TokyoEnglish Subtitles\uff5cBrad Plumb, Japan Visualmedia Translation Academy (JVTA)"}